This OpenType font family comes in regular, italic, bold and small caps and has some nice OpenType features. Besides ligatures, contextual alternatives, fractions, oldstyle/tabular numerals, Anivers also has a ‘case’ feature for case sensative forms and tabular numerals … so Anivers can crunch numbers with ease. The name Anivers derives from the word anniversary and was originally designed to celebrate the anniversary of Smashing Magazine.
Now the new improved Anivers has been expanded into a small but very rigid, reliable family.
With the extention of the Anivers family, Anivers regular has undergone a major update.
Most important are:
+ Extended language support*
+ Improved glyph shapes
+ improved metrics and kerning**
*Languages now (fully) supported:
Latin / Central European / Croatian / Romanian / Icelandic / Turkish / Esperanto
**Anivers is spaced and kerned by Igino Marini with iKern
Yesterday one of my coworkers felt my brain could use some shaking up and sent me a link to an amazing TED presentation by Dan Ariely.
Ariely makes a startling case for how subjective we are to context with the result being that our perception of “factual’ information might not really be as rock-solid as we’d like to assume. Oh, you can argue with me all day about how logical you are but with just a few simple exercises, he’ll show you how horribly, awfully misplaced your confidence is.
Besides the parlor-trick appeal of this presentation, the thing that is most fascinating to me is the idea that an understanding of this concept might be quite useful in life.
As designers pitching concepts to our clients, are we hurting or helping ourselves with the number and arrangement of the options we show?
This is a topic often discussed, and everyone has their own take on how much is too much…but when you watch the video I think like me you’ll realize that this might be a more important discussion that we realize.
If nothing else, Ariely offers a handy tip for looking your best when you’re headed out to the bars.
In case you’re like me, and didn’t watch the OSCARs – here are the results
Check out Diana’s review of SCAD’s Entrepreneurial Forum by David Sherwin – Being an Agency of One
The Economist explores consumer backlash after Starbucks’ rebrand.
Check out the new Type Specimen App
A sweet tree house with trees inside
Did you know that Google Docs Viewer now supports Photoshop Files?
Check out this sweet color pallet
For your mandatory info-graphic pleasure, An Internet Timeline of the Egyptian Uprising
Know your type: Myriad
Top fonts of 2010 - Font retailer MyFonts compiles a list of the most popular typefaces over the past year, based on actual sales.
Good Reads: Redesigning MailChimp, 10 Lessons for Young Designers, Interview: Designer Michael Carney Talks About The Black Keys, The Grammys, and Being a DiscoDJ, The Disconcertion of Spec. (Courtesy of DesignWorkLife)
Format: Opentype (.otf)
Compatible: PC & Mac
Details: 162 Character Set, Manual Kerning, Tracking / Pairs
Last Thursday I attended a presentation at SCAD’s Entrepreneurial Forum by David Sherwin, a Senior Interaction Designer at frog design.
I didn’t really know what to expect since I was mostly drawn in by the title “Being an Agency of One”, but I found myself connecting with a lot of the experiences he shared during his presentation.
It was a mixture of experiences and advice that he came up with along with team of professionals in the design and marketing industry. It also had a strong focus on project management and profitability.
David offered in his lecture a lot of information that one would be able to obtain only after having coffee or a few beers with the owners of an agency or creative studio.
At the beginning of the lecture, he explained how agencies make money.
Well… by creating cool stuff, one may think. But in reality, lots of companies make their money from a variety of sources such as re-selling services (media buying, hosting), giving away content (blogs, tutorials) or selling proprietary assets (software, processes, etc.). Depending on what areas are more profitable and also depending on the level of involvement, staff hours need to be allocated accordingly.
After each agency has the materials they use as their currency, they need to figure out how they will engage in business with others. This part involves setting the rules of engagement and having a talk with clients to let them know what they can expect from the agency and what the agency is expecting from them. It is incredibly important to have this conversation because a lot of professionals in the creative industry wrongly assume a client is a client, and when they contact the agency, the agency is obligated to bend over backwards to accommodate their needs and expectations.
David also touched on the importance of saying no, whether it’s because the client needs something outside of our field of expertise, or because they have a very limited budget that won’t allow for our best effort. This will help the client understand we are a creative partner, and not just a vendor.
The main point I walked away with was that it is very important to know that whatever your structure (large agency, medium agency, small agency or freelancer) you need to position yourself as what you are and play on your strengths.
Each structure is specifically designed for different types of clients.
Large agencies usually are best for large companies, because sometimes the volume of their needs is only manageable by a really large team with very specific functions within the organization.
If you are a freelancer or a small agency, your full attention will be focused on the projects at hand, and the client will get personalized interactions every step of the way. There are varying levels of quality at this “size”, but generally if you find a good freelancer or small agency (i.e. Paragon) you’ve hit the jackpot.
Here’s why: generally with large agencies, you will get the best and most seasoned creatives at some point in the process, but the bulk of the work will be done by young and sometimes inexperienced employees, and there will be a huge cost associated with the agency’s service, not only because of their reputation, but also to cover their humongous overhead. With small agencies, you get all hands on deck, all levels of experience collaborating, because usually each person has a specific strength and for most projects, a variety of strengths will be needed.
I think I’ve covered only 20% of what his presentation contained, and maybe 0.02% of his extensive online materials, so if you want to know more, and get it straight from the source, I highly recommend following him on Twitter @changeorder and visiting his website.
“The game just completely changed”
Check out these State Motto’s
A brand refresh for Long John Silvers
I love these minimalist designs of consumer products
Campaign Monitor recently launched a beautiful site for applications
Step behind the scenes and take a rare tour of PIXAR Studios
Orbitron is a geometric sans-serif typeface intended for display purposes. It features four weights (light, medium, bold, and black), a stylistic alternative, small caps, and a ton of alternate glyphs. Orbitron was designed so that graphic designers in the future will have some alternative to typefaces like Eurostile or Bank Gothic. If you’ve ever seen a futuristic sci-fi movie, you have may noticed that all other fonts have been lost or destroyed in the apocalypse that led humans to flee earth. Only those very few geometric typefaces have survived to be used on spaceship exteriors, spacestation signage, monopolistic corporate branding, uniforms featuring aerodynamic shoulder pads, etc. Of course Orbitron could also be used on the posters for the movies portraying this inevitable future. Courtesy of League of Movable Type.
I know we mentioned it earlier, but the 2010 Feltron annual report is live! I’ve already pre-ordered my copy (2 actually) of the print version, which features 4 spot colors and gold foil. I’ve purchased it every year and it never fails to impress.
How many Brands can you recognize after they have been Unevolved to just circles.
Hype for Type has a new site, check ‘em out.
In the spirit of Valentine’s Day, I’m pleased to share Kate Spade’s B Mine gallery, a cat alog of e-cards made by var i ous artists and designers; as well FontShop’s 2011 edition of Valentype. (hat tip designworklife)
If you live in Brooklyn, you may have been lucky enough to see the work of graphic designer and custom chalk letterer Dana Tanamachi. Let us know if you have, iphone pictures welcome.
Mapping Stereotypes has just come out with the Calendar of Prejudice – a funny look at the world, satirically, through different cultures.
The talented Taylor Pemberton has released his project Cavalier Essentials – I want them all. “If Steve McQueen carried a beat-up leather duffle bag on the back of his motorcycle; what would be in it and how would the products look?”
The new Strokes album is going to be out soon, get your free teaser track here.
The Lost Type Co-op is a collaboration between Riley Cran and Tyler Galpin. In only 24 hours they created this entire project – including the free font Muncie – a strong, sturdy typeface inspired by the steel mills of the industrial age.
Current TV’s Bar Karma is a real show. It will premiere tomorrow and it was created to give people the opportunity to contribute to the show in ways that haven’t been possible before. It was conceptualized by The Sims creator Will Wright as a way to build communities through collaborating creatively on a show. No need for agents, starving, or powerful contacts.
When contributors submit their ideas, these may or may not be used on the show, and if they are, they will be credited at the end of the episode but there is no money involved. This presents a bit of a problem because it can be seen as exploitative. The other side of the coin is that this system provides a way for people who have always been interested in writing for TV to test themselves in a community of people with the same interest and hopefully see their ideas produced professionally.
This article on Wired details the background of the idea.
After registering on the site, I got a chance to experiment with the StoryMaker, a pretty cool looking interactive tool that lets you pick from different scenes to create a 22 scene storyboard of an episode. It looks like a big funnel in which your choice of scenes get smaller and smaller as you approach the end of the episode. You can also see the lines connecting all of the scenes you have picked and you can jump from place to place and see how your story is altered by different variables.
You can decide to create your own scene by uploading a picture and a few lines of text. You can submit a succesion of scenes and use them as building blocks for the episode.
The overarching concept of a bar in which people get to explore their own current, past and future lives was also decided on by a group of anonymous collaborators. I have to admit, the premise of the show lends itself for a lot of cheesy sounding “man walks into a bar” kind of stories and I found tons of this on the StoryMaker, but there is a lot of potential for really creative stories.